Starting with the arrows, you're doing a pretty good job of drawing these such that they flow smoothly and confidently across the page. One issue however is that as these arrows are to exist in 3D space, the gaps between the zigzagging sections (the negative space) are subject to foreshortening/perspective - meaning that as shown here, they should be getting tighter as we look farther back.

Continuing onto the organic forms with contour lines, you've mostly done a pretty good job of sticking to the characteristics of simple sausages as mentioned in the instructions - aside from a couple places where you end up with pinching through the midsection.

The contour lines themselves are also very well drawn, with confident strokes keeping the shapes even and a lot of care going into their execution keeping them snug within their forms. I can see that you're even thinking about how the degree of your contour lines shifts as we slide along a given sausage form - many students tend to miss this, so good job.

Moving onto your texture analyses, these are for the most part really well done. You've clearly focused on the use of intentionally designed shadow shapes and have used them to control the density of your gradients as you transition from one end to the other. Towards the far right, you do end up with some simple "lines" as textural marks, which are okay but in general you should even strive to make these really slight marks as shapes as explained here, because simple lines tend not to have the kind of variation and dynamism we look for in these kinds of shadows. Applying that two-step process to all of our textural marks helps us avoid making those mistakes.

You continue to apply these principles fairly well throughout your dissections where you explore a lot of different textures. Admittedly there are some where I think you perhaps don't observe your references as frequently as you should, resulting in more oversimplification (as explained here in the lesson), so remember that no matter what, you want to be looking at your reference almost constantly, looking away only long enough to capture a single shadow shape.

There are also a few places - though not often - where you slip back into outlining your textural forms, instead of always implying them with the shadows they cast. These notes go a little more into that issue.

Moving onto your form intersections, I think you've by and large done a really good job here. Your linework is clean and concise (although you do have some inconsistent line weight at times - don't forget that line weight should only be applied in small areas to clarify specific overlaps), and your attention to the use of the ghosting method has helped you capture the forms such that they feel solid, cohesive and consistent within the same space.

You've also got a great start with the intersection lines themselves - this is something we only introduce at this point, and we don't even worry about whether or not they're correct. It's all about getting students to start thinking about how the forms they draw relate to one another in 3D space, and how those relationships can be defined on the page. For the most part your grasp of these relationships is coming along quite well - there are some mistakes, but fewer than is normal, and again - we're not at all worried about that at this stage.

Lastly, your organic intersections are doing a good job of establishing how these forms interact with one another in 3D space, rather than as flat shapes on a page, and you've done a good job of creating an illusion of gravity in how they slump and sag over one another. Do however try and stick to simple sausage forms in the future, instead of shifting their volume around and letting some of them get flattened out.

All in all your work here is coming along great. I'll go ahead and mark this lesson as complete, so keep up the good work.